The heavy metal monsters performed in Porto Alegre last weekend.
The Porto Alegre heat on this Friday, November 9th, although not very inviting, was not enough to contain the crowd of devotees lined up along a block in Cidade Baixa. Bar Opinião – which just a few days ago hosted, to a full house, none other than the Cavalera Brothers returning to the brutal origins of Sepultura – would once again be the stage for a heavyweight encounter, this time international: Kreator and Arch Enemy , two big names in world heavy metal.
The bands joined a major tour of Latin America alongside the reinvigorated Helloween . This time, this (now) septet (!) German band left us out (especially since they were in Brazil last year with the same show, playing in Porto Alegre on Halloween, October 31st, 2017). Although it was interesting to mix the sovereigns of melodic metal with big names in thrash and "melodic death metal," the noticeable absence of Helloween at Liberation Fest at least lived up to the motto " less is more," providing extended setlists for the illustrious remaining bands. This is the context that allowed the people of Porto Alegre to see Arch Enemy and Kreator share the night, two monsters of heavy metal today, headliners of major festivals, kings of their own genres, and of exalted popularity in Brazil. The gates opened at 6:30 PM, with the first act, Arch Enemy, scheduled for 7:30 PM.
With the venue packed, Arch Enemy left their dressing room 20 minutes late, and the opulent stage setup, with flags, banners, and backdrop, was a fitting response to the half-stage space they had been offered. It was the Swedish quintet's first time in the capital of Rio Grande do Sul, which justified the widespread anxiety and expectation, since even those who don't follow their long career (formed in 1995, with only one original member) recognize that they are a great band.
At the aforementioned time, the introductory track from the band's most recent full-length album, Will to Power (2017), played over the PA system. Seven tracks were selected for the setlist. The band kicked things off with the excellent "Blood in the Water," addressing two concerns for the more critical members of the audience: the songs from the new album would sound spectacular live, and Alissa White-Gluz would not only deliver a powerful stage presence but also have the audience completely captivated throughout the night. The sequence continued with a quick trip down memory lane, featuring "Ravenous" ( Wages of Sin, 2001), a classic from their time with the highly respected predecessor, Angela Gossow.
With the audience mesmerized by the barrage of riffs, melodies, and charisma, the band delivered a setlist that synthesized their current phase, with Alissa at the helm, while also revisiting some of their greatest moments from the past. Guided by White-Gluz's "harsh" words, "We are Arch Enemy, and this… is… fucking… WAR," the set also included a selection of tracks from the luxurious album War Eternal (2014, their first with Alissa on vocals), such as the furious wall of sound in "Stolen Life," as well as the title track "War Eternal"—which ignited the crowd's excitement—and the thrilling choruses of "You Will Know My Name" and "As the Pages Burn," sung at the top of their lungs by the devoted fans, much to the visibly emotional delight of guitarist and founder Michael Amott .
From their latest album, other choices included the fast-paced “The Race,” which exploded into a mosh pit in the center of the venue (just a warm-up for what would happen in “Pleasure to Kill,” when the German thrash metal entities would take the stage later); they also played “First Day in Hell” and the beautiful double-tracked versions of “The Eagle Flies Alone,” one of the highlights of their latest album. The band closed the first set with the highly anticipated classic from the Gossow era, “We Will Rise.”
For the generous encore, the band reserved the new and ambitious “Avalanche,” another high point of Will to Power . After the old duo “Snowbound,” the grand finale came with “Nemesis” and “Fields of Desolation,” revisiting the great and distinct phases of the band, both sung with enthusiasm by all the satisfied and affectionate fans.
The four years with Alissa at the helm flew by, and the synergy that formed there helps us overcome the sober but sad decision of Angela Gossow, who chose to work behind the scenes of the band, leaving, as a woman and owner of extremely aggressive vocals, an unparalleled legacy to add to the history of heavy metal. If initially, in contrast, Alissa White-Gluz differed considerably from her predecessor, causing a certain counterpoint in the aesthetic that the band had been practicing, today this contrast is quite balanced, showing the band adapted to the 'modern' approach of the vocalist, and her yielding to the perfectionist and neoclassical delivery of the Swedes.
With few smiles during the songs and a 'short and to the point' approach (as we say here), the vocalist opted for a simpler, more streamlined look, foregoing complex props and contributing to a more dynamic experience within the limited space of the stage. Under these conditions, she delivered an absolutely brilliant performance, commanding respect from the first to the last second. If, through social media, we are convinced that Alissa White-Gluz – offstage – is a woman with a lot of substance, well-defined and often inspiring ideological positions, on stage, this strong personality translates into a singer with impressive vocals and a very high-level stage presence. The band left to a standing ovation, returning without their instruments for a selfie with the audience and a farewell worthy of one of the best shows Porto Alegre saw in 2018.
The departure of the Swedes would leave another void that would never be filled: that of equipment. Before long, the Opinião stage had been transformed into a large hall, with only Jurgen “Ventor” Reil in the center. To the photographers' horror, the Germans took to the stage with almost unsettling lighting, suggesting that only the silhouettes of the musicians and their instruments would be hinted at in the dim light. This was the tone of the show given by the legend Mille Petrozza (vocals and guitar), along with his longtime companion Ventor (drums), as well as the now-classic Christian Geisler (bass) and Sami Yli-Sirnio (guitar): just the musicians, the audience, and the only possible link between them – the music of Kreator.
With the band's image getting lost amidst the dense and aggressive lights, Kreator's focus was indeed on the sound. The German band's repertoire spanned extensively between their modern albums, emphasizing their latest release, Gods Of Violence (2017) . Not bad for a band that was in Porto Alegre to promote other great "recent" classics from their long career, such as Enemy of God (2005) and Hordes of Chaos (2009), the latter in the good company of Exodus .
The band took to the stage to the sound of "Mars Mantra," announcing the starting point with "Phantom Antichrist," from the eponymous 2012 album. Next came the heavy "Hail to the Hordes," the first banger of the night to be pulled from their latest album. Following that, under the announcement of "Enemy of God," it's safe to say that the dance floor at Bar Opinião turned into a battlefield. For those outside the mosh pits, always encouraged by Petrozza, it was challenging to stay in one place without taking a few kicks or shoves. Then came "Satan is Real," chanted as a prophecy (and with some humor) by those present, and the powerful "Civilization Collapse," which foreshadowed a brief and anticipated return to the past.
The first track from Kreator's "classic" era was the highly anticipated "People of the Lie," increasing the number of fans in the mosh pit, which expanded across the dance floor song after song. Then, Petrozza appeared with a flag, while the crowd chanted the band's name. "It's time… to rise… the flag… of… HATE!" were the final words that triggered "Flag Of Hate," from their debut album Endless Pain (1985), as if a war had broken out for about four minutes. "Phobia" concluded the combo of the band's golden era, finally returning them to modern times.
In terms of execution, the band remains fast, direct, and always faithful to the intricate original arrangements and well-timed solos; but the audience's participation in the following songs, "Gods of Violence" and "Hordes of Chaos"—singing the cathartic verses "we shall kill" and "everyone against everyone"—was decisive in making this the show's peak. "It's a fantastic night. Every time I come back to Brazil, I remember that this is our home, it's the home of metal," says the vocalist. The vain audience appreciated the comment, but took a break with "Fallen Brother," a song that served as a respite for those present to regain their composure for what was to come.
The quartet left the stage for less than 2 minutes, but not for a single second did the audience stop screaming for their return; soon the epic introduction “The Patriarch” was heard, bringing the encore, followed by the classic anthem of social revolt conceived by the band in 2001: “Violent Revolution” gave way to the chorus of a packed house of people hungry for Kreator's merciless thrash. Finally, the vocalist delivered the coup de grâce: “Pleasure to Kill”, the band's fastest track (perhaps?) and the soundtrack to the most aggressive part of the night, would come to close the night in the best “all or nothing” style.
Mille orchestrated the opening of a gap in the crowd. "Open up, open up!" shouted one, trying to help separate the audience into two large groups – at the first chord of the last banger of the night, two hordes of crazed gauchos clashed hand-to-hand and brought the proceedings to a close with a great celebration of violence. The sonic explosion from the PA system gave the musicians and their instruments on an empty stage a grand experience of pure, direct, and no-frills thrash metal.
The band remains at the top of the genre, leaving the audience in the euphoria of the biggest mosh pit I've ever seen in that place. In this atmosphere of fraternity and celebration, Kreator closes the night in a great catharsis of hatred and devotion shared by the legion of people present.
I apologize to the reader for the length of this review, but while it's true that great nights deserve extensive accounts, it's impossible to be concise about this great event that set the perfect vibe for what would come later, after the event ended: a party hosted by Opinião itself, with about 4 tribute bands (an amazing Dio cover!), plus a performance by Sorrowful Dream , showcasing the dark side of Rio Grande do Sul metal.
A busy end of the year for the Rio Grande do Sul metal scene, which at this rate is only likely to attract more fans. Next month will also see the second edition of RS Metal , featuring the local bands that have helped and continue to help write the history of the Brazilian underground: Panic , Rebaellion , and Hangar by Aquiles Priester, who are going through their best phase since Inside Your Soul . Long live Liberation, which continues its schedule with relevant names in international music, remaining steadfast in organizing historic events in the country.
Text by: Rust Costa Machado
Photos by: Daniela Cony
